Abdominal Breathing, employed by Martel,4,26;lateral,3.(See alsoChest-abdominal breathingandLateral abdominal breathing.)Acoustics,43;experiments in,46-48;Pascal on,49.Actor, enunciation of the,19;importance of deep breathing for,19.Adam's Apple, the male larynx,9.Ageto begin study of voice,77.Ah-sound, narrow limits of,18;how produced,22;Lilli Lehmann on,19;place of, in practice,57.Air Cavities(seeSinuses).Anxiety, a deterrent to beautiful singing,85.Application of Essentials,79.Appunn, on pitch of vowel sounds,20.Articulation, differing opinions concerning,3;relation of, to resonance,51;through upper lip,72.(See alsoPronunciation.)Articulator,6.Artistry,79.Ascham, Roger, on voice culture through imitation,77.Aw-sound, lip position for,22;in exercises,59, etc.Beauty of Tone, a criterion of correct vocal action,56.Bell, on pitch of vowel sounds,20.Booth, Edwin, as a good speaker,16.Booth, Junius Brutus, impairment of his voice,53.Breath Control,23-32;importance of, in both speaking and singing,23;muscles of respiration in,23;the diaphragm in,23;muscles in,24;the lungs in,25;inspiration,25;expiration,25;correct method of,25;a cure for nervousness,27;necessity of exercises,27;economy a factor in,30;exaggerated,30;initial use of,31;exercises for,33-37;of Farinelli,37.Breath Force, initial use of,31;reserve,31;wasted,31.Breath Mastery, meaning of,32.Breathing, art of,3;an amplification of the daily habit,5;defined as singing,23;correct,25,28;not differing in sex,26;vicious habits of,26;controlling deeply,26;tests of,26;nose versus mouth,26;regularity of,26;in obtaining power and largeness of tone,27;for high tones,27;relation of, to nervousness,27;rhythmic,27;necessity of exercises,27;illustrations of,28,29;exercises in,33-37;economy in,30;tests in, by Professor Mills,30;exaggerated control of,30;exhaustion,31;initial force in,31;reserve power in,31;mastery of,32.(See alsoAbdominal breathing.)Broschi, Don Carlo, breath control of,36.Browne, Dr. Lennox, on the laryngoscope,3.BrowneandBehnke, on nasal resonance,53.Chest, expansion of and resonance,49.Chest-Abdominal Breathing,25;illustrated in sleeping child,25;tests in,26;illustrated,28,29.Chest Tones, former emphasis given to,2;wrongly termed,5.Clay, Henry, as a good speaker,16.Closed Tones, former emphasis given to,2;wrongly termed,5.Cryer, Dr. W.H., on the frontal sinus,12.Culture of the Voice(seeVoice culture).Deep Breathing, importance of, for the actor,19.(See alsoBreathing.)Deterrents to Beautiful Singing,84,85.Diaphragm, in breathing,19;not a muscle of expiration,23;described,23,24;in inspiration,24;in expiration,24;illustrated,24,29.Difference Between Singing and Speaking,17.Ear, function of, in tone production,57;training of,57.Ee-sound, lip position for,20;in exercises,57,59, etc.Effort, Tense, a deterrent to beautiful singing,84.Emotion, effect on tone quality,7;excess of, a deterrent to beautiful singing,84.Empiricists, where they have failed,4.Epiglottis,10.Essentials, application of,79.Ethmoid Bone,8.Ethmoidal Sinuses, illustrated,7;function of,12.Everett, Edward, as a good speaker,16.Exercises, Breathing:necessity of,27,33;preliminary suggestions,33,34;attitude in taking,34;I, to show what a deep breath is,34;II, slow inhalation with sudden expulsion,35;III, sipping the breath, with quick exhalation,35;IV, for rib expansion,35;V, slow inhalation with slow expiration,36;VI, rapid inspiration with slow expiration,36;VII, Farinelli's great exercise,36;VIII, the cleansing breath,37;half breath,37.Exercises, Vocal:I, to establish nasal and head resonance,58-61;for speakers,60,61;II, to establish head and nasal resonance,61;III, IV, V, upper resonance,62-64;VI, to enlarge the throat and thus magnify the tone,64;VII, for production of the vowel sounds in proper focus,65;VIII, to enlarge the throat and focus the vowels,66;IX, quick changing notes without changing resonance,67;X, for agility,67,68;XI, to develop the use of the lips and under jaw,68,69;XII, for facility and quick vowel change,69,70;XIII, ascending and descending scale,71;XIV, the long scale,71;additional,72,73;repose as a preparation for,80.Expiration, muscles of,23,24;under controlled pressure,24;described,25;the lungs in,25;illustrated,28,29.Face, training muscles of,15.Farinelli, breath control of,36.Ffrangcon-Davies, on pronunciation,18;on registers,39;on function of ear in voice training,57;definition of singing of,83.Focusing the Voice(seeVoice placing).Forbes-Robertson, on diction,19.Formes, Carl, voice of, in declining years,4.Freedom in Singing,84.Frontal Sinuses, function of,12;illustration of,7.Garcia, Manuel, inventor of laryngoscope,2;use of laryngoscope,2;Sir Charles Stanley on,3.Gounod, on pronunciation,19.Half-Breath, Sembrich and,37.Hard Palate, function of,12.Harshness, an indication of tension,56.Head Cavities, a resonator for the voice,6;effect of, on resonance,12.Head Tones, in previous years,2;wrongly termed,5.Helmholtz, on pitch of vowel sounds,20;on acoustics,43,49.Henderson, W.J., on pronunciation,18.High Tones, breath control necessary for,27.Holmes, Oliver Wendell, on Edward Everett's voice,16.Hyoid Bone,8,10.I-sound, described,21.Impatience, a deterrent to beautiful singing,84.Inspiration, muscles of,23,24;process of, described,25;illustrated,28,29.(See alsoBreath controlandBreathing.)Instrument, Musical, elements of,43,44.Intensity, Involving Strain, a deterrent to beautiful singing,84.Kindergarten Teachers, instruction by,78.Koenig, on pitch of vowel sounds,20.Laryngoscope, and registers,2;Garcia the inventor of,2;usefulness of,2;limitations of,3;disappointing results of,38;not an instrument for the singer,51.Larynx, moving,3;viewed through the laryngoscope,3;illustrated,7;description of,8,9;relation of size of, to pitch,9;automatic action of,38;not alone the vocal organ,50;reflex action of,51;force of tone does not originate in,75;must be left uncramped,75.Lateral Abdominal Breathing,3,25,28.Lehmann, Madame Lilli, on use of Ah,19;on registers,39;on nasal resonance,54.Life's Periods,79.Lind, Jenny, effects of wrong methods on,4.Lips, in articulation,14;position of,20-22;illustrated,21,22.Lungs, a motor for the voice,6;illustrated,24;described,25;overcrowding,31.Mackenzie, Dr. Morell, on the laryngoscope,3;on singing and speaking,17.Macready, Wm. Charles, as a good speaker,16.Martel, voice of, at seventy,4.Maxillary Sinuses,7,8,12.May, Dr., breathing tests made by,26.McKinley, M.S., on Garcia and the laryngoscope,2.Mental Discord, a deterrent to beautiful singing,84.Meyer, Edmund J., on resonance,43.Mills, Dr. Wesley, on breath measure,30;on ease of vocal action,56;on the function of the ear in tone production,57.Motor of the Vocal Instrument,6.Mouth, theory of its function,1;a resonator for the voice,6.Muscles of Respiration,23.Music Teachers, scientific,4;empirical,4.Nasal Cavities, as reinforcing agents in tone production,2;a resonator for the voice,6;illustrated,7;formation of,8;vibrations in,8;effect on resonance,12;Edward Everett's use of,16;as a resonator,52,53;obstruction of, in Booth,53.Nasal Resonance, erroneous theories concerning,1,2;Madame Rudersdorff recognized effect of,2;involved in head resonance,52;versus nasal tone quality,53;Lilli Lehmann on,54;Sembrich's study of,54;importance of,54.Natural Voice, what is meant by,77.Nervousness, a cure for,27,80.Nostrils, relation of, to tone quality,14.O-sound, lip position for,20;illustrated,21;in exercises,59, etc.Oo-sound, lip position for,20,21;in exercises,59, etc.Open Tones,2,5.Oral Surgery,2.Oratorio, faulty diction in,18.Over-Conscientiousness, a deterrent to beautiful singing,84.Overtones,45,46.Personality, effect on the voice,83.Pharynx, function of,10.Phillips, Adelaide, voice of, in declining years,4.Pitch of Tone, influence of resonance cavities on,12,13.Placing the Voice(seeTone production).Power of Tone, dependent on resonant cavities and breath control,27.Principles Advocated,5.Pronunciation, indifference of American singers to,17;W.J. Henderson on,18;change of attitude toward,18;importance of, to singer,18;relation of, to tone,18;Ffrangcon-Davies on,18;sing words rather than tones,18;Lilli Lehmann on,19;emotional power impossible without,19;Gounod on,19;Forbes-Robertson on,19;upper lip in,19;effect of smile on,19.Psychology of Vocal Culture,82-85.Pterygoid Muscles, and the under jaw,10.Public Schools, voice training in,78.Reeves, Sims, voice of,4.Registers,38-42;blending the,2,41;not a natural feature of the voice,2;fallacy of theory of,2;a myth,5;thebête noireof vocalists,38;defined,38;Clara Kathleen Rogers on,38;Lilli Lehmann on,39;Ffrangcon-Davies on,39;of the organ,40;of voice and instruments compared,40,41;an artificial creation,41,42.Repose, as a Preparation for Vocal Exercises,80;how to induce,80.Resonance, differing opinions concerning,3;principle of,5;nasal and head cavities in,12;influence of resonance cavities on pitch,12;pitch of vowels in,20;and power,27;and breath force,31;in general,43-50;development of science of,43;quality and power of,44;significance of,45;experiments to demonstrate,46-50;induced,47;sympathetic,47,48;density of air and,47;volume and character of tones dependent on,49;head and nasal,51-55;relation of articulation to,51;focusing tone a matter of,52;effect of its absence,54;exercises to establish,58-72.Resonator of the Voice,6.Respiration(seeBreath controlandBreathing).Respiratory Muscles, a motor for the voice,6;described,23,28;action of,25;illustrated,24,29.Rogers, Clara Kathleen, on registers,38.Rudersdorff, Madame, and nasal resonance,2.Santley, Sir Charles, on Garcia and the laryngoscope,3.Scale of Vowel Sounds,20,72.Self-Repression, a deterrent to beautiful singing,84.Sembrich, Marcella, and the half-breath,37;use of nasal resonance,54.Singing, subtlety of,4;obstacles to,5,74,84;versus speaking,5,17;mission of singer,18;defined as breathing,23;age to begin,77;in public schools,78;by method,79;vibrato in,80;psychology of,82-85;sublimated speech,83;defined by Ffrangcon-Davies,83;freedom in,84;deterrents to,84.Sinuses, illustrated,7;pairs of,8;function of,12.Smile, Effect of, on pronunciation,19.Soft Palate, office of,11,52.Speaking, obstacles to,5;tones of, identical with singing tones,5;difference from singing,17;expression in,83.Speaking Voice, misunderstood,16;connection with singing voice,16;how cultivated,16;identity with singing voice,17;and pronunciation,18,19.Sphenoid Bone,8.Sphenoidal Sinuses, illustrated,7;pairs of,8;function of,12.Stage Elocution, criticism of Forbes-Robertson on,19.Teeth, function of, in use of voice,12.Throat, theory of sound in,1;a resonator,6;illustrated,7;relation to voice,8.(SeeLarynxandPharynx.)Throat Stiffness, most frequent obstacle to good singing,74;effect on larynx,74;difficulty in recognizing one's own,74;throat consciousness a common cause of,74;induced by lack of breath mastery,75;American hurry begets,75;voice culture a struggle with,75;remedies for,75,76.Timbre of Voice, defined and explained,7,8.Tone, defined,45;analyzed45;experiments to determine composition and resonance of,46-50;focusing of,52;vocal, a mental concept,82;whole man in,83.Tone Production, largely a matter of resonance,56;effect of right thought on,56;judged by naturalness and beauty of result,56;function of the ear in governing,57;cultivating normal,57;exercises to aid in,58-73;effect of throat stiffness on,74;natural,77;age to begin study of,77.Tone Quality, variety in,6;effect of emotion upon,7,75,84;relation of pronunciation to,18;how to secure purity of,18,19;experiments to determine,46-50;and resonance,5,44,45,49,50;cause of nasal,52-54;beauty or harshness of, a criterion of judgment,56,57;effect of throat stiffness on,74-76;dependent on mind and ear,82;related to personality of singer,83;natural and unnatural,85.Tongue, as an articulator,6;illustrated,7;connection with larynx,9;position of, in speaking and singing,13;tongue consciousness,14.Under Jaw,10;in ascending the scale,10.Upper Lip, in pronunciation,19;in practising,68;in articulation,72.Uvula, office of,11.Ventricle in the Larynx,8.Vibrato,80,81.Vibrator, of the voice,6;of instruments,43.Vitalizing Text with Tone, the singer's mission,18.Vocal Cords, vibrator for the voice,6;in the larynx,8;described,9;not the principal cause of tone,44,45,49;necessity of free action of,51.Vocal Instrument, discussion of,6-15;beauty and complexity of,6;three elements of,6,7;illustrated,7;relation of parts of,8;larynx,8,9;vocal cords,9;epiglottis,10;pharynx,10;under jaw,10;soft palate,11;hard palate and teeth,12;nasal and head cavities,12;tongue,13;lips,14;nostrils,14;face,15;defects in,85.Vocal Tone, an audible mental concept,82.Voice Culture, opinions concerning,2;wrong methods of a generation ago,3,4;cannot be developed mechanically,4;principles advocated,5;the right way the easy way,5;resonance an important factor of,5,43,45,50,52,54;should begin in childhood,77;learned by imitation,77;Roger Ascham on,77,78;in public schools,78;artistry in,78,79;three periods of,79;application of essentials of,79;repose as a preparation for,80;the vibrato in,80;psychology of,82-85;personality in,83;freedom in,84;deterrents in,84,85.Voice Placing,51,52,56-73.Voice Timbre, defined,7,8.Vowel Sounds,11,18,19;singer's scale of,20,72;each has its own pitch,20;lip position for,20-22;placing of,52;exercises for practice,58-73.Webster, Daniel, as a good speaker,16.Wheatstone, on pitch of vowel sounds,20.Willis, on pitch of vowel sounds,20.
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